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A behind the scenes story, shot on the EOS C200

A close-up of a man holding a clapboard for Cam A with Scene 24 Slate 103 Take 1 written on it. He sits on grass and another person can be seen sitting on the grass behind him.
Ben Parker directed this documentary about the filming of Stump. “It was important to clearly communicate the process the filmmakers employed to tell the story,” he says.

The recently premiered film Stump looks at disability through the eyes of two brothers. Capturing life behind the scenes, the production team behind the short drama, Stigma Films, opted for the EOS C200 to shoot detailed, low-noise footage for a documentary on how the 20-minute short was made.

Ben Parker directed this documentary about the filming of Stump. “It was important to clearly communicate the process the filmmakers employed to tell the story,” he says.

“You almost have to be invisible,” says Ben Parker, director of the behind-the-scenes film. “But at the same time it’s critical to tell the story honestly, covering all aspects of how the production team bring the story to the screen and finding ways of being thorough with your filming and access.

“To add creativity to the process, we focussed on some of the more specific and interesting elements of the film. The filmmakers enlisted very different techniques in illustrating the two characters. This gave us something innovative to hone in on, and the creative perspective with the behind the scenes films was to make sure we showed this process in all its glory.”

Ben Parker directed this documentary about the filming of Stump. “It was important to clearly communicate the process the filmmakers employed to tell the story,” he says.

"Opting for the EOS C200 proved a smart move for the crew. Not only could they capture footage with a similar look and feel as the main camera used to shoot Stump – the impressive EOS C700 – but it was small and portable.

“The cameras we used had great autofocus, which was needed because we knew a lot of the filming would be off the cuff, with not a lot of opportunity to set the shot,” explains Ben. “We also needed to deliver 4K and knew we’d be able to record internally using the EOS C200.”
A woman holds a camera to her face pointed at the subject she is filming:a man, one of the brothers featured in the film, whose back and shoulder are visible in the left of the picture.
Many scenes in the film were fast-moving, so a camera with great autofocus was essential for capturing unscripted and unpredictable action. Shots couldn’t be planned and set up.

“Shooting in 4K and Cinema RAW Light really allowed us to do a lot more in post-production – we had to operate with the lighting available, so more manoeuvrability in the grade was vital,” says Ben.

In post, the film really began to take shape and Ben explains the importance of grading to achieve the final look. “The look and colour that they wanted for the actual film dictated the lighting we operated in. So, naturally, your aim is to be consistent with the film itself. This can pose problems if you’re shooting on vastly different camera equipment, especially if you’re shooting at a different resolution. Fortunately, the colour tech is excellent across the Canon camera range.”

The team also credit the EOS C200’s size for giving them a critical edge, allowing them to get footage from the tightest of angles. “Life isn’t scripted,” says Ben, “so you have to be able to roll with change.”


To find out more about the EOS C200, visit the product page.

Shkruar nga David Corfield

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